“BOWIE IN THE BASEMENT,” works for the Thunder-Sky Art Gallery showing, April 29th, 2016

Pardon Me When The Kingdom Comes, (oil pastel on canvas board) ©2016 Alfred EakerPardon Me When The Kingdom Comes, (oil pastel on canvas board) ©2016 Alfred Eaker

“The more horrifying the world becomes, the more art becomes abstract.” (Paul Klee)

The works here represent a pivotal time in my life (1980) when I discovered both the music of David Bowie (Scary Monsters And Super Creeps) and Pierre Boulez (Fold Upon Fold) in 1980. Both were aesthetic channels out of what then was a kind of hell. They both represented the outsider, rising up to so-ciety. Through their approach to art and the status quo, each spoke a cool, brutal language that, at 16, powerfully resonated.

Alfred Eaker easel 1981-2016

Paint easel 1981-2016

Of course, it’s more complex than that and, oddly enough, both died in January 2106-in the pulse of winter. When news of Boulez’ death came, I was literally working on a canvas, from a series of drawings I thought I had lost, but had recently discovered in one of many boxes I was getting round to unpack ( a year after the move). The drawings were first made at concerts I attended of Boulez conducting avant-garde music (including his own) in Chicago. His death was expected. He was 90 and had vanished from the music scene two years before. Only a week prior, I had lamented to my wife that Boulez was fading.

Continue reading